Assessment 1: Response 6

All topics in Contemporary Design were enjoyable, and Data Visualisation and Design for Emotion, were new to me. I learned the most in Data Visualisation, where examples of how to communicate large amounts of data were presented in very interesting ways. Hustwit’s films Objectified and Urbanisation were invaluable in understanding different design problems/solutions and I look forward to watching future films. I gained a greater whole picture perspective on designing for development, sustainability and urbanisation and how to use nature in design solutions. Most importantly, the examples of good design as activism to improve the lot of ordinary people provided hope for the future.

My essay on Design for Emotion gave me a new perspective on the value of consumer goods. Starting from an outlook of economic rejection and then researching why products are important helped me grow as a designer, because I now understand why products are beneficial on a deeper level. I originally became a designer to create art, make things and help others communicate. My essay showed me how a design career can fit meaningfully into the existing economic structure and how to be more thoughtful in creating contemporary design solutions that truly solve problems, rather than create them.

Assessment 1: Response 5

Anaisha Williams
The Global Humanitarian Project
289 Bahabia Street
Glen Innes, NSW 2370


5th September 2017


Dear Anaisha,

I am writing to you on behalf of United Villages NGO, to ask for funding for an exciting project we are currently working on; the expansion of the Internet Village Motoman Network (IVMN) in remote villages in Ratanakiri, Cambodia.

Our existing Network has already connected 15 schools, teleclinics and a governor’s office to the internet (and email) via offline browser caching. With high illiteracy, poor life expectancy and dependence on subsistive agriculture, this is an important development in the lives of the Khmer Loeu people.

Students and nurses request searches and write emails which are transported by Honda motorbike to a mobile access point. A satellite uplink on the bike is used to connect to the internet. The bike then returns to the village with the answered search queries and email responses.

This project was started in 2006 by Amir Hasson, and has proven itself beneficial within the region – not only in providing essential communications infrastructure, but in improving medical outcomes, educational knowledge and economical opportunities. If we are able to grow the IVMN to include more villages, we may yet see the sharing of diversified and skilled workers between villages, as well as more enduring agricultural practices (preserving the natural beauty of the area).

Your funds will help us grow IVMN to include 15 more schools in surrounding villages. This would be an invaluable contribution to our project and to the villagers of Ratanakiri.

Warm regards,


Suzanne Day
Ratanakiri United Villages Initiative
28A Krong Ban Lung,
Ratanakiri, Cambodia




Angkor Tuk Tuk Travel. (2017). Ratanakiri Province in Cambodia, Angkor Tuk Tuk Travel. Retrieved from

Health Poverty Action. (2017). Background to Ratanakiri, Health Poverty Action. Retrieved from

Health Poverty Action. (2017). Cambodia, Health Poverty Action. Retrieved from

Ishaq, A. (2010). Drive by WI-FI: internet access for remote villages, ICTs, Education & Entrepreneurship (ICTEC). Retrieved from

Lemaistre, A. (2012). Literacy vital for progress, The Phnom Penh Post. Retrieved from

Margolis, J. (2007). Wi-fi buses drive rural web use, BBC News. Retrieved from

Assessment 1: Response 4



Hamilton, C. & Denniss, R. (2005). How much is enough? Affluenza. Crows Nest NSW, Allen & Unwin.

Hamilton, C. (2003). Identity. Growth Fetish. Crows Nest NSW, Allen & Unwin.

Mugge, R., Schoormans, J. & Schifferstein, H. (2007). Product attachment: design strategies to stimulate the emotional bonding to products. Product Experience. Burlington, USA: Elsevier.

Sudjic, D. (2008). The Language Of Things, Kindle Edition. London: England, Penguin Books Ltd.

Journal and online articles

Gianluigi, G., Prete, I., Peluso, A., Maloumby-Baka, C., Buffa, C. (2010). The role of ethics and product personality in the intention to purchase organic food products: a structural equation modelling approach. International Review of Economics, 57(1), 79-102. doi10.1007/s12232-009-0086-5

Hung, W.K., & Chen, L.L. (2012). Effects of novelty and its dimensions on aesthetic preference in product design. International Journal of Design, 6(2), 81-90. Retrieved from

Maslow, A.H. (1943) A Theory of Human Motivation. Psychological Review, 50(4), 370-396. Brooklyn College.  doi10.1037/h0054346

Mugge, R., Schoormans, J. & Schifferstein, H. (2009). Emotional bonding with personalized products. Journal of Engineering Design, 20(5), 467-476. doi10.1080/09544820802698550

Norman, D. (2002) Emotion & design: attractive things work better, Interactions, 9(4), 36-42. doi10.1145/543434.543435

Schifferstein, H. N. J., & Zwartkruis-Pelgrim, E. P. H. (2008) Consumer-product attachment: measurement and design implications. International Journal of Design, 2(3), 1-13. Retrieved from


Basulto, D. (2016). Evocative Objects: Designing for Emotion and Empathy. Retrieved from

Komninos, A. (2017). The Reflective Level of Emotional Design. Retrieved from

Norman, D. (2009). Selective Memories, Metropolis 28(8), 90-91. Retrieved from

Van Hout, M. (2008). The Mediocre Middle. Retrieved from


Diatta, D. (2015). Material Communications . Retrieved from

Hustwit, G. (2009). Objectified . Retrieved from

Norman, D. (2003). 3 Ways good design makes you happy . Retrieved from

Task 3: Michel Gondry

Gondry’s use of in-camera effects to create “visual music” in The White Stripes’ The Hardest Button To Button video clip is a comprehensive exploration of stop motion that is derived, but not duplicated, from Méliès’ original substitution splicing technique pioneered in The Vanishing Lady in 1896.

In The Vanishing Lady, Méliès “filmed beyond the point where he planned to introduce the substitution, then cut the film at the appropriate place and spliced it very carefully…to the next piece of film containing the new image” (Ezra, 2000, p.28) to create the disappearance of a woman. Although Méliès’ special effect was created post-production, Gondry was able to replicate the vanishing technique mostly in-camera using modern digital equipment to stop/start recording, while moving the scene around between each capture in The Hardest Button To Button. Some post-production editing gave the music video a final polish.

Gondry playfully combines the rhythm of the music with the appearance/disappearance of drum kits and amps, while changing the scenery throughout the clip and allowing the musicians a fair bit of movement between frames (which also are timed to the music). This jaggedness, movement and musical timing is quite different to the smoothness and simple central focusing of Méliès’ earlier films, but it is important to note that both directors use consistent locational and positional references to establish narrative progression and continuity in their work.

A distinctive example of Méliès’ influence on Gondry can be seen in Méliès’ 1903 film Extraordinary Illusions, where an empty magic box suddenly appears in the magician’s arms under cover of an umbrella, and also when the magician “conjures” sheets out of it. This addition of objects to a scene through special effects is creatively duplicated by Gondry throughout the whole White Stripes clip, but is particularly striking when the colourful drum sets appear in time to the music outside the truck repair shop, 2:20 minutes in.



Printscreen of drum sets appearing in The Hardest Button To Button.

If Méliès is considered the pioneering magician of film special effects (Ezra, 2000, p.24), then Gondry is the creatively gifted maestro. Gondry’s original and visually imaginative contemporary works are almost a tribute to the cinematic techniques discovered by Méliès, without which, the world would have been far less entertained.



Bangs, L. (2009). The White Stripes – The Hardest Button To Button . Retrieved from

Ezra, E. (2000). George Méliès: the birth of the auteur. Manchester: Manchester University Press

Change Before Going Productions. (2011). The Vanishing Lady (1896) – GEORGE MELIES – Escamotage d’une Dame au Theatre Roubert Houdin . Retrieved from

Kaufman, G. (2003). The story behind the White Stripes’ ‘Hardest Button’: Lens Recap. Retrieved from

Partizan Official. (2014). I’ve been twelve forever (Side B) – short film – Michel Gondry (2004) . Retrieved from

Project Muybridge. (2017). Extraordinary Illusions (1903) – Dir Georges Méliès Retrieved from

shuffletoeheel. (2011). Busby Berkely clips . Retrieved from

silentfilmhouse. (2011). The Haunted Castle 1896 George Melies Silent Film . Retrieved from

Assessment 1: Response 3

There are many studies which prove particular design strategies are useful in creating emotional attachment to products.

Product personalisation is one way to effect emotional bonding and attachment. Mugge et al., (2009, p.468) explain that “integrating the consumer in the design process” through creativity is a pleasurable and useful way to elicit emotional attachment, because consumers invest time and mental effort to express their individuality and attach value to that investment. Not only can consumers “communicate a personal [and visible] identity” to others, but they can also feel “a sense of accomplishment” (Mugge et al., 2009, p.469-472). The conclusion from the study on personalised bicycles shows that creative mental effort produces more attachment than physical or functional effort.

Another way that consumers emotionally bond to products is explored by Hung and Chen’s extensive study of chairs. The “results indicate that…trendiness…has the greatest influence on novelty” (Hung et al., 2012, p.89) and that “chairs perceived to be most beautiful were those with a moderate level of novelty” (Hung et al., 2012, p.81), establishing that a visceral connection is derived from combining a familiarity of form with some perceived stylishness (fashion and popularity).

Both of these studies illustrate profound design strategies that can be used to increase emotional attachment to, and enjoyment of, products.


Hung, W.K., & Chen, L.L. (2012). Effects of novelty and its dimensions on aesthetic preference in product design. International Journal of Design, 6(2), 81-90. Retrieved from

Mugge, R., Schoormans, J. & Schifferstein, H. (2009). Emotional bonding with personalized products. Journal of Engineering Design, 20(5), 467-476. doi10.1080/09544820802698550

Task 2: Design Language

As cities around the world redesign and modernise their visual identities, the question of who they are designed for is becoming a far more essential consideration in the design process.

A good example of destination branding with unique simplicity is the wordmark for the Paris Convention and Visitors Bureau, created by design agency Graphéine. This pleasing “minimalist typogram” or “typographical skyline” (Graphéine, 2016) uses marks functioning as letters – the famous Eiffel Tower is juxtapositioned alongside a playfully tossed ball or romantic moon above a columnar skyscraper. Thoughtful, modern and carefree, the logo retains traditional iconography, while the sans serif typeface with wide tracking modernises, balances and increases readability to the letter “buildings”.

The branding is inviting, reversing out of a bright red background, which emotionally captures the visitor attractions of shopping, romance and passion. Since Paris is quite a well-known city already, the wordmark doesn’t need to convey further historical context and instead works by communicating the place as an easy and fun tourist experience.

In comparison, the new City of Boston identity designed by IDEO is not fun. It is used alongside a traditional official seal and is “a marketable, reproducible rendition…a simple, stately wordmark…sturdy and functional” (Brand New, 2017) conveying governmental authority. This new identity does what it is supposed to do and improves upon its predecessor, but one cannot help but feel sorry for the local citizenry who are not represented by any unique or distinguishing city features.

The generic underlining, standard tracking and bolded capital letters present a strong, united front against the recipient and enhance an “us versus you” message that is the opposite of its intention – instead of serving people, the logo insinuates governmental interference and control. Although the “B” monogram is less intense, it is still generically sober, especially when reversed out of black. “Arguably, this logo could say City of Chicago, City of Omaha, City of Seattle, and it would have the same effect” (Brand New, 2017).

The study of these two identities reveals that it is an incredibly difficult task to “…reconcile selling [a city] in a tourism sense and then receive your [governmental service] with the same symbol” (Glickfield, 2010, p.31).

Graphic designers need to examine the relationship between speakers and recipients carefully and thoroughly if they are to produce a place identity that functions as a source of civic pride, in order to obtain greater public enthusiasm and acceptance.


The new City of Boston logo could be applied to any city.


Brand New. (2017). New Logo and Identity for City of Boston by IDEO. Retrieved 03 August, 2017, from

Brand New. (2016). New Logo and Identity for Paris Convention and Visitors Bureau by Graphéine. Retrieved 03 August, 2017, from

Glickfield, E. (2010). On Logophobia. Meanjin, 68 (3), 26-32. Retrieved from

Graphéine. (2016). Paris Convention and Visitors Bureau rebranding. Retrieved 03 August, 2017, from

Assessment 1: Response 2

Inkahoot’s The Caravan Kit is an interesting example of design activism working with local systems and authorities for change. The problem is clearly conveyed on the front cover – a photo of an old caravan window in disrepair communicates that it is about neglected caravan park residents. Commissioned by St Vincent de Paul and the Brisbane City Council (Inkahoots, n.d.), it is a public document intended to be handed out freely to all caravan park residents to provide them with information about basic services.

The need for, and existence of the Kit itself gently increases awareness and “calls for change” (Thorpe, 2011, p.6), while simultaneously assisting the group it represents. It is an unconventional document published using conventional methods, but can only be considered slightly embarrassing as a disruption to authorities because they hadn’t thought to publish such a useful and practical guide earlier (Thorpe, 2011, p.6).

The Caravan Kit is design activism at its finest – it fits all of Thorpe’s criteria and is a great example of what can be achieved through design communication to make life easier for those who really need it.



Inkahoots. (n.d.). The Caravan Kit. Retrieved 27 July, 2017, from

Thorpe, A. (2011). Defining Design as Activism. Retrieved from